Tuesday, 9 December 2014

De Profundis is a terrific new Naxos release of sacred choral works by Pizzetti, Malipiero, Allegri, MacMillan and Puccini beautifully sung by The Vasari Singers under their Director Jeremy Backhouse

Founded in 1980, the Vasari
Singerswww.vasarisingers.org are
one of the UK’s leading chamber choirs. Their Music Director, Jeremy Backhousewww.jeremybackhouse.comhas worked
with the Guildford Philharmonic Choir (now the Vivace Chorus), the Salisbury
Community Choir, the BBC Singers, the Philharmonia Chorus, the London Choral
Society and the Festival Chorus.

The Vasari Singers have been described by the The Times newspaper
as ‘passionate and precise’ and by Gramophone Magazine as ‘a consistently
outstanding choir…one of the most accomplished small choral groups of our
time.’

The choir performs regularly in most of London’s major
concert venues and has taken part in numerous commercial concerts and
festivals, including the BBC Proms. They have an extensive critically acclaimed
discography with their world premiere recording of the Gabriel Jackson Requiem reaching number five in the
specialist classical charts.

The Vasari Singers
are acclaimed for their versatility, performing choral music from a wide range
of styles and eras, from the Renaissance to contemporary. This is something
that is reflected on their new release from Naxoswww.naxos.comentitled De Profundis with
works by Pizzetti, Malipiero, Allegri, MacMillan and Puccini.

8.573196

Ildebrando Pizzetti
(1880-1968) was born in Rome and studied at the Parma Conservatory before
teaching in Florence, Milan and finally at the Academia di St Cecilia in Rome.
In addition to operas, orchestral, chamber and instrumental works he wrote many
choral works including the two featured on this disc.

The first of Pizzetti’s works on this disc is De Profundis (1937) which has a
wonderful opening as the voices of the Vasari Singers slowly build the textures
providing a fine rubato. Pizzetti layers the music especially well with a
lovely passage where the female voices come in over the male voices, rising to
a fine peak before falling back for the gentle coda.

Gian Francesco
Malipiero (1882-1873) was born in Venice where he studied at the Licei
Musicali before continuing his studies in Bologna. His study of the works of
Monteverdi and the influence of Stravinsky, whose Rite of Spring he heard in
Paris, remained influences on his music. His compositions covered most genres
from opera through to piano music.

On this new disc we can hear the World Premiere recording of
his De Profundis (1937).The work opens with deep pedal notes from
the organ before a viola melody appears. Baritone, Matthew Wood is really fine
when he enters in this melancholy setting. There are some especially lovely
passages for viola and organ but it is the fine singing of Wood that makes this
performance. The music rises centrally before, with deep organ, bass drum and
viola the somewhat dark coda is reached.

Gregorio Allegri
(1582-1652) is mainly known for the one work performed on this disc, his Miserere. Just as well-known is the
story of Mozart writing down the work from memory whilst hearing it performed
in Rome whilst visiting with his father, thus breaking the monopoly that the
Vatican held on performances. Allegri was a singer and composer at the cathedrals
of Fermo and Tivoli before becoming maestro di cappella of Spirito in Sassia,
Rome as well as a singer in the Papal Choir.

Here the Vasari Singers bring a beautifully blended tone to
the Miserere, beautifully poised
with the female and tenor voices providing some lovely sections. Both Jocelyn
Somerville and Susan Waton (sopranos) are credited in this work. Certainly the
soprano taking the spectacularly difficult treble part, as it soars high up, is
terrific. This is a very fine performance where subsequent passages are
decorated and varied as indeed it is thought would have been the practice in
Allegri’s time. The small group of singers that also includes Elizabeth
Atkinson (alto) and Keith Long (bass) provide some beautifully decorated
passages. The choir as a whole bring a very fine, mellow blend of voices that
often have a mesmerising effect.

James MacMillan
(b.1959)https://twitter.com/jamesmacmwww.boosey.com/composer/james+macmillan was born in Ayrshire, Scotland and
studied at Edinburgh University before undertaking further studies with John
Casken at Durham University. His music is influenced by both his Catholic faith
and Scottish folk music. Amongst his many compositions including opera,
orchestral, chamber and piano works, sacred choral works hold a prominent
place.

The Vasari Singers fine textures are particularly revealed
in their performance of his Miserere
(2009) with some very fine little rhythmic inflections and fine handling of
MacMillan’s harmonies. When the music suddenly breaks out of its withdrawn calm
there is singing of biting precision, the male voices showing fine incisive
qualities. There are moments that are reminiscent
of Allegri’s Miserere, the work intended to be a 21st century take
on the setting of this penitential psalm. The music eventually rises suddenly for
whole choir with moments of intense stasis over which the voices of Julia Smith
(soprano), Julia Ridout (alto), Paul Robertson (tenor) and Matt Bernstein (bass)
intone. The music rises finally for the whole choir in a moment of intense
feeling before leading to the gentle coda. What a fine setting this is,
receiving here a really lovely performance.

Giacomo Puccini
(1858-1924) is, of course, known as an operatic composer. He wrote a number
of sacred choral works earlier in his career but his Requiem,written to
commemorate the fourth anniversary of Verdi’s death, dates from 1905. As with Malipiero’s
De Profundis, it is written for choir, viola and organ. It rises slowly and
gently with a fine melody before the viola enters full of restrained emotion.
The music soon rises more passionately but falls back as the viola adds an
anxious feel. The choir, viola and organ lead to the sad coda with a simple
amen and final organ chord.

The other work on this disc by Pizzetti is his Messa di
Requiem (1922) a work given a higher profile with an award winning Hyperion
recording by the Choir of Westminster Cathedral under James O’Donnell coupled
with Frank Martin’s Mass for Double Choir.

The male voices open the Requiem
before the female voices join, as this lovely setting moves forward. Jeremy
Backhouse draws from his Singers a natural forward flow with little surges
finely brought out. The Vasari Singers weave some lovely vocal textures and,
towards the end some beautifully luminous singing.

The Dies Irae has
a gentler opening yet with a nervous tension, this choir bringing a fine
control with some beautifully woven musical lines. The music soon rises with
singing of stunning brilliance and power. The old plainchant appears openly in
a lovely passage.Lower and upper voices
overlaid, rich lower textures and pure upper voices in a gloriously held
section as we are led into the lovely coda.

There is a luminous opening to the Sanctus before it gains in richness. There is first rate singing
here with so many textures emerging before rising to a central peak. At the end
there is a very fine Hosanna in excelsis.

There isa gentle
yet often soaring Agnus Dei with these
voices providing a terrific blend of textures and a superb, deeply felt coda.
The Libera me slowly rises to some
powerful writing with some exceptionally fine choral work as the choir gently
lead to the conclusion with some lovely rises in passion before the end.

Finely recorded in the excellent acoustic of Tonbridge School
Chapel, Tonbridge, Kent, England, with excellent documentation and with full
texts and English translations what more could one want. This is a terrific disc.

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The Classical Reviewer has been involved in music for many years, as a classical record distributor, as a newspaper concert reviewer and writer of articles relating to music as well as reviewing for Harpsichord and Fortepiano magazine.

He assisted in the cataloguing of the scores of the late British composer George Lloyd and has co-authored a memoir of his friendship with the composer.

Having a particular interest in British music, he regularly undertakes talks on Elgar.

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